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Imagine some not too distant in the future totalitarian society where young people have never seen a book (much less a theatre play), computer screens had moved inside people’s heads, and language has so many technological terms, it’s barely recognizable. People work all the time, no one goes out anymore, and human interaction is reduced to a minimum. Luckily, mental health is well taken care of: everyone has a virtual psychologist and has to take “a pill”, just to cope. That’s the sad reality of Jason Hedrick’s two-act play ‘Vanya On the Plains,’ staged at The Artistic Home Theatre under the direction of Kayla Adams.

The play takes place in a house where an extended family co-habits without much interaction with each other: a 79 year old patriarch of the family, Elijah, his mad daughter, Anka (Katherine Schwartz), and two teenage grandkids (Sophia and Nicolas), as well as Elija’s mother-in-law, Gayle, and Anka’s boyfriend, Carl.  Gayle (superbly played by Kathy Scambiatterra) is very old; she is possibly just a ghost, since most characters just ignore her. But she is the breath of fresh air in that dreadful place: flamboyant and outspoken, and completely void of technocratic influences- it’s as if she’s been plucked out of some old, long forgotten reality. Gayle does like to drink quite a bit of vodka, but who wouldn’t. The entire house is like a perverse tea party: everyone’s mad in their own way. 

Many colorful characters keep the [slightly too lengthy play] entertaining. Special mention of great young talent Ariana Lopez (as Sophia), who added sparkles to the play.

When wise and bookish Elijah (wonderfully intuitive acting by Frank Nall) has a bright idea to “humanize” those around him by staging Chekhov’s “Uncle Vanya” at his house and making everyone act in the play, the rehearsals that would go on for years will have eventually become the much needed therapy for that crazy family. 

‘Vanya on the Plains is being performed at The Artistic Home Theatre. For more info visit www.theartistichome.org.

Published in Theatre in Review

 

 

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